The Improper Bostonian said that Jade Maze has "a voice so smooth you could skate on it". Well, "My Favourite Colour Is Blue" demonstrates that description perfectly. The album is primarily blues/R&B and has great arrangements. Ten good tracks with six covers, including Billy Foster's "I'd Rather Go Blind", Don Robey's "I Smell Trouble", Bobby "Blue" Bland's "Poverty, and Joe Veasey & Don Robey's "Further on Up the Road". Four of the tracks are originals, including "Move On" and "Tired of Loving You". Buy her "Beat of Your Soul" album and promote this lady. For music in the same genre, search this blog for music by Kyla Brox

TRACKS

PovertyI Smell TroubleThe Dark SideMy Love Will Never DieYou Weren't ReadyMove OnYes to the DevilTired of Loving YouFurther on Up the Road

30.3.10

"The Lucky Golden Stripes And Starpose" is an obscure and underrated album from the 70's progressive jazz rock (for want of a better term) band Wigwam, from Finland. Some reviewers on Amazon have compared the sound of Wigwam in parts to bands like Greenslade, Procol Harum, The Band, Hatfield & The North, Camel, Colosseum, The Strawbs and Gentle Giant. These bands covered a lot of ground, and between them made some classic albums. "The Lucky Golden Stripes And Starpose" is certainly not a classic album. But many of the sounds and rhythms are reminiscent of some of these bands, especially the Canterbury Rock bands, Hatfield & The North, and Soft Machine. The band's earlier albums, like "Hard 'n' Horny" and "Fairyport" are arguably more progressive albums. Some of Jim Pembroke's earlier music like his work with the Finnish band, Blues section has been classified as blues-jazz-pop fusion, and some of "Lucky Golden Stripes And Starpose" could easily fall into that "genre". Add some soul blues jazz, a bit of Steely Dan, and Mike Patto and you are some way towards describing the band's sound. Listen to Wigwam's "Being" album, which is a great jazz rock album, and Wigwam's strongest album

INSURGENCY STARTS here. Wigwam are like a small guerrilla unit operating from their base some way outside a capital city in the grip of a totalitarian regime. Their attacks are devastatingly successful, directed exclusively at the machinery of propaganda. And this capital - it could be anywhere. The tanks, patrols, checkpoints and curfews are symbolic rather than actual. London, New York, San Francisco, Los Angeles... all the self-appointed centres of rock'n'roll, lifeless metres by which the medium is measured. All in the hands of an invisible dictatorship - the authoritarian rule of 'sophistication', style and fashion. Here today, gone tomorrow - the mind police of contemporary music making their dawn swoops, their nights of the long knives. Rock'n'roll is so nauseatingly centralised and bureaucratic it's no wonder it thrives on a contrived dynamic of inconsequentiality, of unwillingness to accept anything that doesn't in some way toe the party line. An expertly concealed domination - with oligarchies ruthlessly pacing rates of change (or no change at all). Any deviation is severely punished. Wigwam have had the good fortune and good sense to have escaped this takeover by reason of their being well away from any such 'centres of rock culture.' The band are Finnish, with the exception of Jim Pembroke, an English expatriate who's lived in Finland for 12 years or so. Thus situated they're able to review events along a clear horizon, at an unforced pace, cautiously selective about their enthusiasms. They could, if they chose, remain their own best inspiration and make their way without any outside interference. In fact Wigwam manage something of a best of both, but without compromise, neither succumbing to sycophantic imitation of archetypes nor becoming introverted in grand isolation. Although they haven't always been song-oriented as they are now. 'Lucky' is their eighth album, and the second from a lineup that only includes one original member, drummer Ronnie Osterberg. Time was that under the militant (Marxist) [sic] inspiration of Jukka Gustavson they recorded (rarely performed - the material was too complex) 'Fairyport' (1970) and 'Being' (1973), two sets of exemplary lateral thinking, achievements as advanced as anything the Softs or Zappa managed when at their best. (Albums that deserve British release at some date.) Nonetheless, despite the changes in personnel and emphasis, Wigwam - who almost changed their name to Wigloo - have as much claim now to be distinctively idiosyncratic as then, 'Nuclear Nightclub,' their first release, was marred by overproduction and a paucity of really good material. Both problems have been eradicated. 'Lucky' was recorded at The Manor and contains eight songs by Pembroke and a much more assured Pekka Rechardt. And if the album title is slightly reminiscent of Traffic's 'Low Spark Of High Heeled Boys'... Pembroke would probably list the Band, Traffic and Procol Harum among his loves. Three very musicianly groups, as are Wigwam, with everyone collaborating rather than outbidding - low profile virtuosity being the order of the day. In addition, instrumentation - with two keyboards, guitar, bass and drums - has obvious precedents in Procol and the Band: all weather capability. Pembroke sings and writes most of the lyrics. His voice combines the deadpan satire of a Randy Newman with a more desparate, almost manic, edge. He has a remarkable ability to twist and inflect phrases around the melody and accent of songs. His lyrics reflect a determination to keep head above water, above the encroaching flood of what in the title cut he calls 'social termination.' But 'Lucky' isn't a formal, explicitly conceived 'concept' record, rather an inspired collection and interrelation of themes. And The World is Pembroke's lyrical stage, his wit that of the gravediggers in 'Hamlet' - black, wry and acerbic. His subject matter covers ecological imbalance, political intrigue, insanity, saviours and prophets, much more. As we all blithely trip along the high wire to apocalyptic oblivion. Pembroke's ways of expressing such apprehension are at times very unsettling. Both he and Rechardt have a predilection for compulsive melodies, the very fibre of spontaneous bop. Osterberg and Mosse Groundstroem (bass) keeps things very strict and self-controlled whilst Rechardt sneaks in dense clusters of guitar chords. Thus you'll find 'International Disaster' innocently zapping along whilst Pembroke croons "there'll be waltzing in Vienna, fighting in Angola..." A simple trick of juxtaposition, but very effective. 'Sane Again' has, of course, little enough to do with regaining any form of equilibrium; it opens the album, the first of three bulletins from the asylum. The other components of this trilogy are 'Eddie And The Boys', another airy toon with echoed guitar skimming it by like a hydrofoil, and 'Nutshell,' the closing 'idiot' song. And in a nutshell is where, Pembroke argues, we're likely to end up, ostrich people, to ignore the outriders of disaster, happily and manically insulated to the last. Both 'Nutshell' and 'Eddie' are graced with crazy marimba - a neat addition. Elsewhere are 'Timedance,' an instrumental dervish spree, followed by 'Colossus,' weird scenes in some northern castle. This and 'Never Turn You In,' a ballad about Christ and his betrayal, allow Hessu Hietanen to enshroud developments in chill, shimmering string organ. The total effect, allied with Pembroke's melancholy voice, is overwhelmingly anguished. Rechardt, always a graceful soloist, offers his move to threaten checkmate in the title song's centrepiece, a low level jet strike of curling notes, and plays his most striking set of chords in 'June May Be Too Late.' Enough detail. Wigwam are brutally honest, often very poignant. Sober up, whilst there's still time. [ from "The Guerrillas Of The Wigloo" Angus MacKinnon, Street Life, April 3-16, 1976

29.3.10

Ian Carr formed Nucleus in October 1969 to enable individual members to express themselves as fully as possible and explore different ways of grooving. The band, which has always been based in London, started with Ian (trumpet/flugelhorn), Karl Jenkins (piano, baritone, oboe), Brian Smith (saxes, flute), Bernie Holland (guitar), Jeff Clyne (bass, bass guitar) and John Marshall (drums)" [Source: Melody Maker Factfinder Series, 19 April 1975, p.48]

This is a spectacularly good album of material from the legendary jazz fusion band, Nucleus, recorded at Abbey Road Studios, London, in November, 1978. The late, great trumpeter Ian Carr was one of the greatest, and most influential musicians in British jazz. He played some ground-breaking performances with the Rendell-Carr Quintet and Nucleus, and he provided the inspiration for many world-class musicians. He spearheaded a huge revival in modern jazz music in the 1970s, and brought it to the people. This is the late seventies Nucleus at their very best. Every musician on this recording is brilliant. "Out Of The Long Dark" is HR by A.O.O.F.C. Ian died on 25 February 2009, aged 75. Thankfully, his wonderful music and his unconquerable jazz soul lives on. The Nucleus' "UK Tour 1976" album is @ NUCL/UKT76 The group's "Under The Sun" album can be found @ NUCL/UTS The "Hemispheres" album is @ NUCL/HEMIS and the Ian Carr with Nucleus' "Labyrinth" album is available @ ICARR&NUCL/LABY Read the comprehensive story of this legendary group @ Ian Carr + Nucleus and check out the very informative article, Ian Carr and Nucleus: '70s British Jazz Rock Progenitors See if you can find Neil Ardley's brilliant "Kaleidoscope of Rainbows" album, featuring Nucleus as guests

Ian Carr (21 April 1933 – 25 February 2009) was a Scottish jazz musician, composer, writer, and educator. Carr was born in Dumfries, Scotland, the elder brother of Mike Carr. From 1952 to 1956, he went to King's College, now Newcastle University, where he read English Literature, followed by a diploma in education. At the age of seventeen Carr started to teach himself trumpet. After university he joined his brother in a Newcastle band, the EmCee Five, from 1960 to 1962, before moving to London, where he became co-leader with Don Rendell of the Rendell–Carr quintet (1963–1969). In its six years, the group (including pianist Michael Garrick, bassist Dave Green, and drummer Trevor Tomkins) made five albums for EMI – all of which have been re-issued – and performed internationally. After leaving the quintet, Carr went on to form the ground-breaking jazz-rock band Nucleus. This led to the release of twelve albums (some under the band's name, some under Carr's), and a successful international career. In their first year they won first prize at the Montreux Jazz Festival, released their first album (Elastic Rock), and performed at both the Newport Jazz Festival and the Village Gate jazz club. He also played with the United Jazz and Rock Ensemble since 1975. Carr worked as a session musician in non-jazz contexts, with Nico, No-Man, Faultline, and others. He also doubled up on flugelhorn. Apart from writing a regular column for the BBC Music Magazine, Carr wrote biographies of the jazz musicians Keith Jarrett and Miles Davis. He was also the co-author of the reference work The Rough Guide to Jazz which has passed through four editions from 1994 (originally Jazz, The Essential Companion, 1988). In addition he contributed sleeve notes for the albums of other musicians (e.g. Indo-Jazz Fusions by Joe Harriott and John Mayer). In 1987, he was appointed associate professor at the Guildhall School of Music and Drama in London, where he taught composition and performance, especially improvisation and was founder of the jazz workshop at the Interchange arts scheme, where pianist Julian Joseph, amongst others, was one of his students.

NUCLEUS BIO (WIKI)

Nucleus were a pioneering jazz-rock band from Britain who continued in different forms from 1969 to 1985. In their first year they won first prize at the Montreux Jazz Festival, released the album Elastic Rock, an essential creation in the crystallization of a new musical expression, Jazz fusion, and performed both at the Newport Jazz Festival and the Village Gate jazz club. They were led by Ian Carr, who had been in the Rendell-Carr Quintet during the mid and late 1960s, and was a respected figure in British jazz for more than 40 years. Their jazz-based music evolved from an early sound incorporating elements of progressive and psychedelic rock towards a funkier sound in the mid and late 1970s. Nucleus' first lineup was leader and trumpeter Ian Carr, keyboardist/oboist Karl Jenkins, saxophonist/flautist Brian Smith, guitarist Chris Spedding, bassist Jeff Clyne and drummer John Marshall. By their third album, the band had expanded to include trumpeters Kenny Wheeler and Harry Beckett, saxophonist Tony Roberts, bassist Ron Mathewson, percussionist Chris Karan and Keith Winter on VCS3 synthesizer. Dave MacRae joined soon after for several albums.Over the years the band has seen many members: Trumpet & flugelhorn: Ian Carr, Kenny Wheeler, Harry Beckett, , Chris Batchelor: Tenor sax, soprano sax, flute: Brian Smith, Bob Bertles, Phil Todd, Tim Whitehead: Clarinet, bass clarinet, tenor sax: Tony Roberts, Tony Coe: Baritone sax, oboe, piano, electric piano: Karl Jenkins: Piano and electric piano: Dave MacRae, Gordon Beck, Geoff Castle: Guitar: Chris Spedding, Allan Holdsworth, Jocelyn Pitchen, Ray Russell, Ken Shaw, Mark Wood: Bass guitar: Jeff Clyne, Ron Mathewson, Roy Babbington, Roger Sutton, Billy Kristian, Mo Foster, Dill Katz, Rob Statham Drums: John Marshall, Clive Thacker, Tony Levin, Bryan Spring, Roger Sellers Percussion: Chris Karan, Trevor Tomkins, Aureo de Souza, Richard Burgess, Chris Fletcher Synthesizer: Keith Winter, Paddy Kingsland, Geoff Castle, Neil Ardley Vocals: Norma Winstone, Joy Yates (Mrs. Dave MacRae), Kieran White Organ: John Taylor. In August 2005, a special one-off reincarnation of Nucleus, with old and new members, performed at London's Cargo venue, to an enthusiastic reception. This was followed on 30 March 2007 by a Nucleus Revisited concert at London's Pizza Express Jazz Club as part of a series of concerts to mark Jazzwise magazine's 10th anniversary. Nucleus Revisited featured, amongst others, Nucleus stalwarts, Geoff Castle, Mark Wood and Tim Whitehead and on trumpet, as at the 2005 Cargo concert, Chris Batchelor. Although Ian Carr did not play due to ill health, he was present at the concert and received a standing ovation from the ecstatic audience. Nucleus Revisited also appeared at Ronnie Scott's club in London on 4 August 2009 as part of their two week long Brit Jazz Fest. The double billing with Michael Garrick's Quartet drew an appreciative packed house.

28.3.10

Bill Bruford was a member of Yes, Genesis, and of course King Crimson, the band he was with for over 25 years. Bill's percussive brilliance was a huge element in the band's great success. On "Stamping Ground" he shows more creative freedom in parts than some of his KC work. "Stamping Ground" contains some really innovative live, one-take cuts with no overdubs. One music critic said that "By letting in air and light and adding a little wit and wisdom, Earthworks produced a particularly British antidote to the increasingly grotesque jazz fusion scene. "Stamping Ground" has no electric guitar parts, and is not as "serious" as the fusion of artists like John McLaughlin, or Ian Carr. However the album is engrossing, very accessible, and enjoyable. Listen to Yes' great "Fragile" album, King Crimson's classic "Larks' Tongues in Aspic" album, and Genesis' "Three Sides Live" album. It is also worh listening to the "Anderson Bruford Wakeman Howe" album. Bill Bruford and Michiel Borstlap's "In Two Minds" is another great original improvised jazz album. Many people are put off jazz because of the sometimes false illusion that the genre is only for the intellectual elite. It is true that a lot of contemporary jazz and jazz fusion lacks any originality, and has little or no musical merit. However you don't have to be an "expert" on jazz to work that one out! There is good and bad elements in every musical genre, and as regards jazz, there are far too many pseudo-intellectuals who regard the genre as "over the heads" of the ordinary Joe Bloggs. Good music is good music, and whether it's Abba's "Dancing Queen", Franz Schubert's "The Trout Quintet", or Horace Silver's "Song For My Father", quality is to be found in almost every musical genre. Having said that, you will not find any Jedward, or M. Farre & P. Gasparini "Piano Piano" type music on this blog ! Apologies to connoisseurs of this type of "music" ! Find out a lot more about Earthworks @ HERE

Tracks 1, 4 to 8 were recorded live at the Bottom Line, New York, on March 14th & 15th, 1992, and tracks 2 and 3 at the Nightstage, Boston, MA, on March 18th, 1992. Track 9 was recorded at The Junction, Cambridge, England, on May 22nd, 1992.

CD also available with bonus track, "Hotel Splendour", and as a 2 X CD Edition, with "Hotel Splendour" , and 7 other tracks

Native New Yorker, Steve Freund plays some good traditional Texas and electric Chicago-style blues on this album. How many great musicians have come from Brooklyn? There are definite influences of Buddy Guy, Albert Collins, and James Cotton in Steve's playing, but nothing wrong in learning a few tricks from the blues masters. That's the natural evolution of blues music. This album also has some jazz in the mix. Listen to "Pallet on the Floor" or "Forbidden Stuff". Cool tracks ! Boz Scaggs plays good solo guitar on "Please Love Me", and rhythm guitar on "Jumping at Shadows". Other great musicians on this album include David Maxwell, Kim Wilson, and Willie Henderson. Try and listen to Steve's great "Set Me Free" album, and check out stevefreund.com

27.3.10

"A Case For The Blues" is fundamentally traditional "no frills" blues played with exceptional technique. His "traditional" style is gritty, sophisticated, and contemporary. Michael is his own man when it comes to blues guitar, and it is hard to pinpoint a definite influence on his playing. He plays with a very imaginative, and precise style in the "less means more" fashion. He never overdoes his playing, and still produces some very impressive solos. In blues circles, Michael Osborn is a very well known artist, and is admired and respected by some of the great blues guitarists, including Robben Ford. The late John Lee Hooker said that "Michael Osborn is one of the best blues guitarists around, he can really lay it down". Michael was JLH's band leader for several years, and remains a hugely popular guitarist and songwriter in the San Francisco area. Worldwide, he has shared the stage with legends like Robben Ford, the late Willie Dixon, Elvin Bishop, James Cotton, Robert Cray, Charlie Musselwhite, the late Brownie McGhee, Carlos Santana, John Hammond, Bonnie Raitt, the great Etta James and the list goes on. Musicians on this album include the late J.L Hooker on vocals and guitar, who sings on his own composition, "High Heels". The late Vala Cupp is on vocals. Charlie Musselwhite plays harmonica, and the great slide guitarist, Roy Rogers helps out. A special mention to the great sax blowing by Ken Baker, and Nancy Wright. An impressive album, and HR by A.O.O.F.C. Buy Michael's "What Goes Around" album, and check out his "Touch Tone" album @ MICHOSB/TT It is also worthwhile checking out albums by Robert Cray for more blues in this genre

TRACKS

1 T.S. Boogie [instrumental]2 Lovesick3 That's Right4 Miniskirts and Make-Up5 Bottleneck Blues6 Spellbound7 The Home of the Homeless8 Crazy Life9 High Heels10 Foolin' With a Fool11 Nightmare Blues12 A Woman Never Forgets

All songs composed by Michael Osborn, except "High Heels" by John Lee Hooker

26.3.10

A collection of seven Jamiroquai EP's, CD singles, and maxi CD's ranging from 1996 - 2002. The compilation is comprised of 11 main tracks, remixed into 26 special remix versions. Some of these releases were issued in over 20 different versions, with incredible variations of different album covers, track remixes, sequences, etc. Some of the issues contained video tracks, none of which are included here. Sound quality varies over all these albums, and the original CD's, vinyl issues, no doubt sound a lot better. You would need to be in the money to buy Jamiroquai's amazing record catalogue. Listen to Jamiroquai's "Emergency on Planet Earth" album as a brilliant example of just how good acid jazz funk can be.

Jamiroquai (pronounced /dʒəˈmirəˌkwaj/) are an English jazz funk and acid jazz band. Jamiroquai were initially the most prominent component in the early-1990s London-based acid jazz movement, alongside groups such as Incognito, the James Taylor Quartet, the Brand New Heavies, Galliano, and Corduroy. Subsequent albums have explored other musical directions such as pop, rock and electronica. Jamiroquai have sold more than 35 million albums worldwide. The band name is a portmanteau of Jam session and "iroquai", based on the Iroquois, a Native American tribe. The original band was Jay Kay (vocals), Toby Smith (keys) Stuart Zender (bass), Nick Van Gelder (drums), Wallis Buchanan (didgeridoo). These are the founding members of the Jamiroquai and were involved in the writing and production of the first albums. The lineup of the band has changed several times, and the longest serving and now core members of the band are lead singer and songwriter Jason "Jay" Kay and drummer Derrick McKenzie (1994). Despite his self-professed attempts to treat Jamiroquai as a band, Kay has always been at the forefront of how the group is marketed, and has therefore always had the lion's share of media attention, to the point where he is viewed as almost a solo artist. He was the impetus behind the formation of Jamiroquai, deciding to form the band after an unsuccessful audition to become the singer of the Brand New Heavies. Jamiroquai's first single, "When You Gonna Learn", was released in 1992 on the Acid Jazz label. Following its success, Kay signed an eight-album record deal with Sony BMG Music Entertainment. The first Sony album, Emergency on Planet Earth was released in 1993. It was followed in 1994 by The Return of the Space Cowboy. The single "Space Cowboy" gained notice on the charts and in club rotation. While Jamiroquai was growing in popularity in the UK and Western Europe, they remained relatively unknown to U.S and other international audiences. The band's international breakthrough came with the third album, Travelling Without Moving in 1996, which yielded two big hits, "Virtual Insanity" and "Cosmic Girl". The success of "Virtual Insanity" was due in part to its Jonathan Glazer-directed video, which featured Kay's dance moves and some physics-defying images. At the 1997 MTV Video Music Awards, the creative music video for "Virtual Insanity" won four awards, including Best Video, Best Special Effects, Best Cinematography, and Breakthrough Video. In 2003 Jamiroquai compiled and mixed a DJ mix album for the Late Night Tales series for Azuli Records. The track selection shows some of the band's funk, soul and disco influences, including tracks from The Pointer Sisters, The Commodores, Johnny "Hammond" Smith and Johnny "Guitar" Watson. The acid jazz flavours and ethnic influences of the first three albums continued with the release of Synkronized in 1999. Jay Kay's interest in funk and disco music were shifting the band's directions towards such. By their fifth album, A Funk Odyssey (2001), they had evolved so drastically, that some critics and listeners would remark they lost the 'Jamiroquai sound'. With the departure of more and more original band members, including Wallis Buchanan and his didgeridoo, Jamiroquai had become a very different band than that of 1992. In spite of the changes, the fifth album's first single, "Little L", reached #1 in many charts worldwide. Their sixth album, titled Dynamite was released on 20 June 2005. It reached #3 on the UK charts. The first single, "Feels Just Like It Should" was released early in June, the second, "Seven Days in Sunny June" released on 15 August 2005, followed by the third, "(Don't) Give Hate A Chance" on 7 November 2005. Jamiroquai released a greatest hits collection, High Times: Singles 1992-2006 in November 2006. The release of this album marked the end of Kay’s eight-album contract with Sony. The album reached the number 1 spot in the UK album chart after its first week of release. The album featured two new tracks, "Runaway" and "Radio". On 18 September 2006, "Runaway" was given its first play by UK radio stations. It was released as a single on 30 October 2006. Kay remarked that compilation was released purely out of contractual obligation: "2006, they're out of the fucking picture." In October 2006, Jamiroquai recorded a live session for Live from Abbey Road at Abbey Road Studios. Their performance was shown alongside those of Damien Rice and the Goo Goo Dolls on the UK's Channel 4 in January 2007. In May 2006 Jamiroquai performed during the Laureus Sports Awards in Barcelona. the event was later televised by NBC in June. In March 2006, Jamiroquai announced their switch to Columbia Records. Future releases will appear under the Columbia imprint. During February in 2007 Jamiroquai performed the record breaking Gig in the Sky in association with Sony Ericsson. After leaving Sony, the band began work on their seventh project, and several collaborations and side-projects. In a very short mid-2007 interview with Jamirotalk, drummer Derrick McKenzie expressed his satisfaction with leaving Sony as the beginning of a period in which the band will have more creative control over their own work, together with plenty of room for experimentation and lack of pressure from a record company. On 11 January 2008, Jay Kay himself posted a news item in which he thanked everyone who wished him the best for his birthday, and announced that the writing process for the new album has just begun. Only a day earlier, drummer Derrick McKenzie posted an article on his MySpace weblog that the recording process for the same record has also begun. On 15 January 2008, the band confirmed that the recording process begun. According to the news item, eleven tracks have already been written for the new album, with more to come. As of now, none of the tracks' names are known. On 13 February 2008, the band announced from their website that it will perform at the World Stage of the Rock in Rio — Madrid festival, being held in Arganda del Rey, Madrid with others artists who have (then) yet to be announced. On 28 February 2008, Jamiroquai performed at the Khodynka Arena in Moscow, Russia at the launch of the new Audi A4 car. On 22 June 2008, Jamiroquai performed at the Wianki Festival in Kraków, Poland. On 4 July 2008, the band performed in front of a 75,000 people audience in the Rock in Rio Madrid festival. Tour dates were planned for July and August of 2008. On 5 April 2009, Jamiroquai performed at the closing concert of Malaysian F1 Grand Prix in Sepang International Circuit Malaysia, and on the 9th of April Jamiroquai played at the Sentul International Convention Centre in Jakarta, Indonesia. On 24 August 2009, Derrick McKenzie was interviewed on playvybz.com and talked about the upcoming album. He stated that Jamiroquai is now signed with Universal Records (UK) and that they have recorded more than 40 new tracks. Also the new album will be recorded live and have a style similar to the first three albums with the use of strings and horns. He claims the album will have less of a "disco sound" and will be a lot more funky and soulful. The album is uninfluenced by major record labels and will bring forth a new direction for the band. During the first week of February 2010, Jay Kay mentioned the upcoming album on Jamiroquai's Facebook site, saying, "Hi Everybody, just wanted to say how amazing it is to have so many Friends on Facebook, half a million I believe. Therefore it feels like the right time to let you know that we are alive and kicking and in the final stages of our 8th album. I really can't wait to get out there and play it for you live in the very near future. Sending you all lots of good luck and love, Jay." Buffalo Man is the name of the silhouette character featured on most of the covers of Jamiroquai's releases. Buffalo Man was created sometime prior to the release of their 1992 single When You Gonna Learn, allegedly it was originally sketched by the band's primary songwriter and front-man Jason Kay as Buffalo Man is seemingly a self portrait silhouette of Jason wearing a buffalo hat. The mark has been used on almost every commercial (and sometimes non-commercial) release of the band's output in some form or another; usually the unique symbol is pictured unaltered, but there have been times where it is shown in a stylised manner to suit the artwork or song. Over the years, Buffalo Man has seen some temporary changes or interesting thematic uses: "Half the Man", The Return of the Space Cowboy For the single "Half The Man", Buffalo Man is on the cover as a keyring with a heart in the clasp representing the fact it is a love song and the keyring itself is split down the middle in two halfs to represent the song title. Buffalo Man also has a silver heart. " Space Cowboy", The Return of the Space Cowboy For the single "Space Cowboy", Buffalo Man is present on the cover as a shaped cigarette paper for a half-complete cannabis joint, in reference to the song's praise of the drug. "Virtual Insanity", Travelling Without Moving For the single of "Virtual Insanity", Buffalo Man appears in the place of the Ferrari horse in an homage to Jason's love of sports cars. For the album cover to Travelling Without Moving, the artwork is similar, but takes on an embossed effect and is seen on a metal grille. "Cosmic Girl", "Everyday" For these two releases, Buffalo Man is pictured with a star over his heart and two intersecting orbital rings. Synkronized While the design remained fundamentally unaltered, Buffalo Man has been turned into a laser-cut mirror and photographed from interesting angles by Midori Tsukagoshi. On some editions, for the disc itself, no ink has been used on the character, but the same stone background found on the front cover has been used for the rest of the disc, thus allowing the consumer to recreate the photographed effect. A Funk Odyssey For this album, the Buffalo Man was notably absent from the cover; instead, the laser lights formed an outline of the Buffalo Man logo, which could be seen much more clearly in the album's liner notes. Dynamite Only the US release featured a gold Buffalo Man. Other releases saw a picture of Jay Kay instead. Just like the Buffalo Man, the Jamiroquai text logo has also had several variations depending on the theme. The oldest version of the logo is the one seen on the Acid Jazz Records release of When You Gonna Learn. In comparison to the current text logo one can see that the old Acid Jazz Records version of the logo was more angular at points, together with the letters being much thinner. Several variations of the current logo also exist. Releases of "Cosmic Girl" and the promo CD of Everyday had replaced the dots above the 'i' letters with stars. Other slight, temporary variations include a slight vertical stretch of the typeface, as seen on the cover art of A Funk Odyssey.

The Sonny Moorman Group is a Cincinnati, Ohio-based Blues/Rock band in the classic "power trio" format, consisting of Sonny Moorman - guitar & vocals, Marc Hoffman - bass, and Dave Fair- drums & vocals. Sonny and the band are nine-time winners of CAMMY awards (Cincinnati Area Music awards sponsored by the Cincinnati Enquirer newspaper). The band was formed in 1994 and was signed to its first recording deal by 706 Records/Sun Studio at the 1994 Crossroads in Memphis. Since then the band has played 300 nights a year and has performed at regional festivals and clubs and toured the US with Easyriders Magazine, performing at all their events. Sonny Moorman won the 2006 Cincinnati Blues Challenge in the single/duo category. The Sonny Moorman Group was nominated by CityBeat Magazine for the 2005 Cincinnati Entertainment Awards in the Blues category and for Album of the Year for their latest release "Crossroads Motel." [ from http://www.culan.org/culanmusicmasterssummit%2008.htm ]

This is a dynamic power blues rock album in the Texas style from a great Cincinnati based Blues/Rock trio, and if you like The Allman Brothers Band., Stevie Ray Vaughan, or Peter Green, you will really enjoy this album, which is HR by A.O.O.F.C. Sonny Moorman's guitar playing is Grade A. Buy Sonny Moorman and the Dogs' great "Telegraph Road" album for more Grade A blues rock, and promote these guys

TRACKS

Last CallCrossroads MotelChance We Take For LoveHouse of ThunderRainmakerUp To My Neck In The BluesRemembering CalOld Slow BluesBlues After DarkShe's All ThatSouled OutToo Much Is Never EnoughTexas Blues

"[Moorman and his band] take the blues ethos, plant it in the garden of their own experience, and let it grow into something which is natural, unforced, blues-drenched, and rocks like crazy." - Bill Shute, BLUES-L

"Power Blues is an apt description for a trio that treads the territory laid out by ZZ Top, Stevie Ray Vaughan, and the Allman Brothers. Watch out for these guys." -Editor - BLUES ACCESS Magazine

Sonny Moorman is an American power blues guitarist from Cincinnati, Ohio. His style is sometimes compared to that of the legendary Allman Brothers, Gov't Mule, and occasional Dead guitarist Warren Haynes. He also owns a music lesson studio in Cincinnati, called Rock School. Sonny currently does solo acoustic performances and he also makes several appearances a week with his trio, the Sonny Moorman Group. They are: Sonny Moorman, Guitar and Vocals, Nick Giese, Bass Guitar, and Dave Fair, Drums and Percussion.

There are many Melanie "Best Of", and "Greatest Hits" compilations, but they are all songs found on other Melanie Safka albums. This is a good barebones acoustic album from Melanie, with ten re-recorded songs. Melanie has had an "up and down career". She was awarded Billboard's #1 Top Female Vocalist for 1972, and is probably best remembered for her songs, "Bobo's Party", "Lay Down (Candles in the Rain)", "What Have They Done to My Song Ma", "Nickel Song", "Brand New Key", "Love To Lose Again", and her version of Jagger & Richards' "Ruby Tuesday". With her unique "cracked" voice, full of passion and emotion, she has written many other great songs, and is an overlooked musician. She may have sold over 25 million albums, but most of her many albums were largely ignored. Although she penned hit songs for other bands, and has received many awards throughout her career for various music projects, to many people she will always be associated with the "hippy" Woodstock/Glastonbury/Isle Of Wight 70's period. Listen to her "Photograph", and "Stoneground Words" albums for examples of brilliant songwriting.

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Judy Collins has the voice of a nightingale. All the songs here have a beautiful graceful subtlety, so typical of Judy Collins' unique, pure, gorgeous voice. "Living" contains four live tracks from Judy's 1970 concert tour. Listen to Judy's great "Maid of Constant Sorrow, " and "Judy Sings Dylan... Just Like a Woman" albums. It is also worth hearing Judy's beautiful "In My Life" album, with covers of songs like Randy Newman's classic "I Think It's Going to Rain Today", Leonard Cohen's glorious "Suzanne", and Dylan's "Tom Thumb's Blues". Wikipedia notes that "Collins' version of the song "Suzanne" is considered to be the recording that first introduced Leonard Cohen's music to a wide audience". Judy's "Sings Lennon & McCartney" album is @ JUDYCOL/SL&MCC Her 1965 "Judy Collins' Fifth Album" is @ JUDYCOL5th and her wonderful 1967 "Wildflowers" album can be found @ JUDYCOL/WILFLN.B:There are confusing references to three 70's releases of this album. One album is from 1971 on Elektra. The other release was in 1972 on Elektra, and referred to as "partly live". Another 1971 release states that the tracks are all LP or single versions. The album posted here only seems to contain four live tracks, but dates from 1971. Has anybody more info on this album release?

*Live tracks from Judy's 1970 concert tour#The lyrics on Track 4 are based on the poem "The Lake Isle of Innisfree" by the Irish poet and playwright, William Butler Yeats. The music for this version was composed by Hamilton Camp